教老品牌新技巧:复古品牌和品牌价值的复苏[外文翻译]

标题：Teaching Old Brands New Tricks: Retro Branding and

the Revival of Brand Meaning

原文：Retro brands are relaunched historical brands with updated features. The

authors conduct a analysis of two prominent retro brands, the

Volkswagen New Beetle and Star Wars: Episode I—The Phantom Menace,that reveals

the importance of Allegory (brand story). Aura (brand essence), Arcadia (idealized

community), and Antinomy (brand paradox). Retro brand meanings are predicated on

a Utopian communal element and an enlivening paradoxical essence. Retro brand

management involves an uneasy, cocreative, and occasionally clamorous alliance

between producers and consumers.

America has Our culture is composed of sequels, reruns, remakes, revivals,

reissues, re-releases, recreations, re-enactments, adaptations, anniversaries,

memorabilia, oldies radio, and nostalgia record collections.

—George Carlin, Brain Droppings, 1998

Brand extension, the use of an existing brand name to introduce a new product or

service (Keller 1993,1998), is an important marketing tactic that has attracted

considerable academic interest (e.g., Desai andKeller 2(X)2; John, Loken, and Joiner

1998). However,another form of brand extension strategy is gaining prominence and

requires urgent research attention. Many long abandoned brands have recently been

revived and successfully relaunched (Franklin 2002; Mitchell 1999; Wansink 1997),

of old brands and their Images are a powerful management option (Brown 2001).

The rise of retro brands places marketing in an interesting conceptual quandary. On

the one hand, marketers are continually reminded of the need for product

differentiation, that today's marketing environment demands strong brand identities

and decries imitation (Aaker 1996). On the other hand, contemporary markets are

suffused with updated imitations, such as retro brands, many of which are proving

enormously popular (Franklin 2(X)2; Naughton and Vlasic1998; Wansink 1997).

Brand Revival and Retromarketing

There is considerable overlap among nostalgia, brand heritage, and brand revival.

Revived or retro goods and services (we use retro synonymously with revived brands)

trade on consumers' nostalgic leanings. Familiar slogans and packages, for example,

invoke brand heritage and evoke consumers' memories of better days, both personal

and communal. The success of the Museum Store, Past Times, Restoration Hardware,

and similar retailers of reproductions and the continuing popularity of

heritage-based campaigns for brands such as Budweiser, John Hancock, and Ivory

indicate that demand exists for allegedly authentic reproductions of past brands. The

problem with exact reproductions, however, is that they do not meet today's exacting

performance standards. Retro products, by contrast, combine old-fashioned forms

with cutting-edge functions and thereby harmonize the past with the present (Brown

1999, 2001). In this regard, consider the Chrysler PT Cruiser, which amalgamates the

shape of a 1940s sedan with the latest automotive technology to produce a futuristic

car with anachronistic styling. Another striking example is Nike's Michael Jordan XI

Retro Sneakers. These shoes may look like a monument to 1950s hoop dreams, yet

their cushioned soles, aerated uppers, and recommended retail prices are state of the

marketing art. Denny's retro diner is an homage to eateries of the 1950s, but its

registers are computerized, the kitchen equipment is cutting edge, smoking is

prohibited in the dining area, and vegetarian dishes are available for those unwilling

to revert to carnivorous habits of yore. We define retro branding, therefore, as the

revival or relaunch of a product or service brand from a prior historical period, which

is usually but not always updated to contemporary standards of performance,

functioning, or taste. Retro brands are distinguishable from nostalgic brands by the

element of updating. They are brand new, old-fashioned offerings.

Findings

The New Beetle

The original Volkswagen Beetle was the stuff of motor-enthusiast legend. Created

by the pioneering automotive designer Ferdinand Porsche, with a past grounded in the

common classes of Third Reich Germany, the car proved wildly popular across

postwar Europe and North America. The Volkswagen Beetle was globally cherished

for its durability, economy, user-friendliness, and idiosyncratic design.

At the time, it was considered an exemplary vehicle of the people. Everyone from

commune-bound hippies and middle-class couples with children to eccentric

multimillionaires drove Beetles. The Beetle even begot a series of live-action Disney

Tony argues from the perspective of a moderate rationalist laying out a logical

argument to ease the tensions between two warring factions. Discounting the intrinsic

value of the past, he insists that the old brand must be adjusted for a new time, place,

and set of target consumers. Akin to Orrin, he shifts the argument about brand essence

to superficial design elements and advertising-laden symbolic associations. The result,

for Tony, is an up-to-date vehicle that still shares the enchanting personality of the old

Beetle brand. Enchantment indeed is the operative word, as many Star Wars fans

testify.

Star Wars

The original 1977 Star Wars movie attempted to disorient its consumers temporally

by offering a faraway future world of spacecraft and intelligent robots subsumed

within a fairy tale set in the distant past. Star Wars: Episode I—The Phantom Menace

attempted to top this temporal dislocation. Setting the fourth movie three episodes

before the first was a stroke of marketing genius that created the neologism prequel.

This prequel demonstrates retro branding in the realm of connected products and

services that characterize today's

brand.

The Phantom Menace stamps an established brand name. Star Wars, on a new

movie that couples cutting-edge special effects with a cast of contemporary actors. As

with the new Beetle, it imaginatively melds a familiar brand name with an all-new,

up-to-date product.

Bill's diatribe offers opposing poles of the profane market and the sacred myth (see

Belk, Wallendorf, and Sherry 1989). Zack's posting is resentful of the myth and

moneymaking power manifested in George Lucas as a person. Both message posters

demonstrate that though the brand is clearly recognized as a commercial creation, it is

(Wolf 1999). As a retro

also a deeply meaningful part of some consumers' lives—it is enthusiastically

represented as a powerful metaphor for living and even for religion. These comments

suggest not only that commerce and the sacred are cultural opposites but also that

their intermixing in brands such as Star Wars has considerable cultural power (see

also Kozinets 2001, pp. 76-78). In support of these findings having wider marketing

production of profound cultural cultural Bill's and Zack's postings express

these important tensions in terms of a brand and the different responses to them. They

respond to the brand paradox behind Star Wars's combination of creed and

commerce,piety and profanity, mana and money.

Discussion

Implications for Brand Meaning Management

Marketing scholars from Alderson (1957) to Zaltman (1997) have recognized the

importance of the experiential nature of the brand, but perhaps not since the heyday of

motivation research (e.g., Dichter 1960) has there been such a resurgence of interest

in brand phenomenology. The most succinct if overstated justification for this interest

is the contention that some conceptualize a product as more than an artifact

From the pioneering work of Levy (1999) and Hirschman and Holbrook (1982)

through the current wave of postpositivist inquiry (e.g.. Brown 1995; Fournier 1998;

Fournier and Mick 1999; Holt 2002; Kozinets 2001; Penaloza 2000; Sherry 1998;

Thompson 1997), the tendency to regard brands as symbolic creations has led to the

conclusion that the management of meaning must underlie marketing strategy. That

marketers are quintessentially meaning managers, shaping the experience of

consumers, is intuitively plausible. That meaning management involves attending to

the creative activity of consumers, or that consumers might justly be regarded as the

cocreators of brand essence, is equally plausible, if less fully appreciated.

Antinomy, the final element of our 4As abbreviation, is perhaps most important of

all, for brand paradox brings the cultural complexity necessary to animate each of the

other dimensions. The brand is both alive and not alive, a thing and a personality, a

subject and an object: This is the paradoxical kernel of brand meaning. The story is

both truth and fiction, composed of clever persuasions and facts, devised by distant

copywriters and real users. This is the central conundrum of brand story and

consumer-marketer codependence. The idealized community is both a real community

and a pseudo community, moral and amoral, in thrall to a commercial creation and a

rebellious uprising, dependent and independent, a gathering of both angry activists

and covetous consumers. For a retro brand, the tension between past and present—and

even, as in our two examples, the future—also vivifies brand meanings. Retro

products seem custom-made to address a core paradox at the heart of brand

management. Retro combines the benefits of uniqueness, newness, and exclusivity

(with its hints of higher functionality, class, styling, and premium prices) with oldness,

familiarity, recognition, trust, and loyalty. These intrinsic paradoxes underpin a

product's elan vital, the creative life force at the heart of the retro brand's

extraordinary appeal.

Conclusion

According to the acerbic comedian George Carlin (1998, p.110), contemporary

consumer culture is beset by an inordinate fondness for revivals,

reenactments, remakes, reruns, and re-creations. Certainly, the merest glance across

today's marketing landscape reveals that retro goods and services are all around.

Long-abandoned brands, such as Airstream (trailers), Brylcreem (pomade), and

Charlie (cologne), have been adroitly reanimated and successfully relaunched.

Ostensibly extinct trade characters, such as Mr. Whipple, Morris the Cat, and Ms.

Chiquita Banana, are standing sentinel on the supermarket shelves once more. Ancient

commercials are being rebroadcast (e.g., Ovaltine, Alka-Seltzer); timeworn slogans

long-established products are being repackaged in their original eye-catching liveries

(e.g., Necco wafers, Sun-Maid raisins).

We have examined the rise of retro brands in an attempt to develop tractable theory

that contributes to marketing principles and practice. We have reviewed the pertinent

literature on nostalgia and, using an appropriately retro research method, have

empirically investigated two exemplars of retro branding, the Volkswagen New Beetle

and Star Wars: Episode I—The Phantom Menace. We found that the meaning of retro

brands inheres in four key characteristics; Allegory, Arcadia, Aura, and Antinomy.

These characteristics indicate that the social and cultural forces that animate brand

meaning are considerably more complex than prior conceptualizations suggest.

Brands mean more than relatively fixed arrangements of associative nodes and

attributes. Complexity, heterogeneity, dynamism, and paradox are integral aspects of

the consumer-brand relationship. Not only are brands fixed cognitive associations of

meanings; they are also dynamic, expanding social universes composed of stories.

They are social entities experienced, shaped, and changed in communities. Therefore,

although brand meanings might be ascribed and communicated to consumers by

marketers, consumers in turn uncover and activate their own brand meanings, which

are communicated back to marketers and the associated brand community. This is not

to say that brand management is impossible in a world of consumer-mediated

meanings, but only that it is more complex than before and cocreated rather than

imposed by managerial dictate.

Our analysis of brand stories and their managerial significance complements the

increasingly accepted view that brands are no longer expected to be reassuring to

consumers; they must inspire consumers to take risks (Kapferer 2001). Fournier and

Mick (1999) note that consumer satisfaction with technological products should be

built on surprise, the unexpected, a challenge. To create this challenge, brand

managers must take risks and boldly go where managers have been reluctant to go

before. Nike's championing of global labor standards in response to a boycott of its

brands is a perfect example of this propensity. Brand meanings, moreover, must be

managed as community brands, as brands that belong to and are created in concert

with groups of communities (Kozinets 1999, 2001, 2002b; McAlexander, Schouten,

and Koening 2002; Muniz and O'Guinn 2001). These communities exist in local and

technologically mediated arenas. They are ambivalent, dynamic, and contested

cultural spaces. In brand-building efforts, marketers must locate relevant gatherings of

these groups and address them collectively as well as continue to address solitary

consumers. The effect of undertaking these new strategies will be an enlivening of our

evolving understanding of brands and their cultural meanings.

出处：Stepheii Brown, Robert V. Kozinets, & John F. Sherry Jr. Teaching Old Brands

New Tricks:Retro Branding and the Revival of Brand Meaning[J] Journal of

Marketing 2003 - JSTOR

标题：教老品牌新技巧：复古品牌和品牌价值的复苏

译文：复古品牌重新发布它带有时代特色的历史悠久的产品。作者开展了一个无图象网络分析两个突出的复古品牌,大众汽车新甲虫和星战前传I: 魅影危机,他揭示了寓言（品牌故事)、气氛(品牌本质),世外桃源(理想化的社区),和矛盾(品牌悖论)的重要性。复古品牌的意思是基于一种乌托邦式的公共元素和一个似是而非的理论本质。复古品牌管理包涵了不稳定,共同创造，偶尔发生矛盾生产者与消费者之间的同盟关系。

现在美国没有....我们的文化是由结果、再运行、重做、复兴、再发行、再被释放、休闲、再制定、适应、各种周年记念日,大事记,老人设备，怀旧收藏所组成。

Droppings, —George Carlin,Brai

1998

品牌延伸,利用现有的品牌

介绍一种新的产品或者服务（keller 1993,1998）,这是一个能吸引大量学术兴趣的重要营销策略(e.g., Desai andKeller 2(X)2; John, Loken, and Joiner

1998).。然而,品牌延伸策略的另一种形式是得到突出表现和获得急迫的研究关注。许多被淡忘的品牌最近又活了,成功地复生(Franklin 2002; Mitchell 1999;

Wansink 1997),以至于市场营销者浮现在兴老品牌和他们的企业形象中的这样一个“复古革命”是一个重要的管理决策(Brown 2001)。

复古品牌的崛起其实在区域上是面临一个有趣的概念困境。一方面,销售人员不的提醒产品差异化,当今的营销环境需要强势品牌身份和创新(Aaker 1996)。另一方面,现代市场司空见惯的摹仿品,如复古品牌,其中不少都证明非常流行(Franklin 2(X)2; Naughton and Vlasic1998; Wansink 1997)。

品牌复兴和复古营销

在怀旧，品牌传统，品牌复兴间有个值得考虑的重叠问题。复古商品和服务(我们用retro同义与revived品牌)贸易对于消费者的怀旧情结。熟悉的口号和包装,例如,调用品牌传统唤起无论是个人还是团体消费者对品牌往日的夸姣回顾。博物馆商店的成功、过去、硬件修复和类似的精密零售商的仿制品和持续流行的以传统为基调的品牌活动,例如百威啤酒,恒康,爱得利都证明了消费者对于老品牌的产品更新的真实需求。然而问题是他们没有对更新的老产品做好新时代的需求

和性能标准。复古产品,相比而言,必须把复古的流行元素和先进的功能结合在一起,从而协调过去与现在(Brown 1999, 2001)。在这方面,克莱斯勒PT漫步者,将20世纪40年代的汽车造型与最新的汽车技术结合在一起，制作出的未来式汽车里,无疑是一个成功的典范。此外,还有一项更突出的例子是耐克的迈克尔·乔丹IX复古运动鞋。这些鞋子可能看起来象20世纪50年代的篮球梦记念碑,但是他们加衬垫的鞋底、充气鞋面和能让人接受的零售价格简直是一场销售艺术。在20世纪50年代，丹尼的复古餐厅就是一个充满荣耀的地方,但它的登记是电脑化的,厨房设备是机械化的,就餐区是禁止抽烟，而且有素餐提供给那些没有食肉习惯的顾客。所以，我们定义的复古品牌,是复兴、或者更新产品和服务的还停留在历史，通常是不保持当代的品味标准,功能或者口味的品牌。从品牌元素的更新我们可以把复古品牌和怀旧品牌区分开来。他们是全新的，老式的样品。

调查

新甲壳虫

原大众甲壳虫是汽车发烧友的传说级收藏品。由首席汽车设计师费迪南德·波尔舍创造的，以过去在三分之一德国地区常见的汽车为原型的甲壳虫,在二战后欧洲和北美广泛流行。大众甲壳虫被全球消费者所珍爱是因其耐久性、经济实惠、使用方便和设计理念。当时,这被人们认为是汽车的典范。上至百万富翁下至社区嬉皮士、中产阶级有儿女的夫妇都开甲壳虫。甲壳虫甚至主演了由真车主演迪斯尼系列电影“爱虫”中的“Herbie”：有金子般的心的车辆。

托尼认为从适度的理性主义制定逻辑论证来缓解两个派系的紧张关系。贴现过去的实际价值,他强调老品牌必须是业余选手适应新时间、地点和目标消费者。类似的，奥林转移争论到品牌本质的肤浅的设计原理和铺天盖地的概念广告。结果,托尼选择甲壳虫品牌不断更新的新一代迷人个性。魅力的确是一个奇妙的事物,众多《星战》迷可以做证。

《星球大战》

原1977年电影《星球大战》试图通过提供遥远的未来世界的宇宙飞船和智能机器人相伴摆布的童话般的故事来获取销费者时间。《星战前传I: 魅影危机》试图让这个时间错位。在前3部电影前设置第四部前传电影简直是一个营销天才级想法。这部前传证实了复古品牌在连接产品和服务的领域里会是以当代娱乐经济为

特征的(Wolf 1999)。作为一个复古品牌。《魅影危机》扎实地建立了它的品牌。《星球大战》,在新电影中,配以大量尖端科技特效和当红演员。与甲壳虫比,它真正把一个熟悉的品牌变为一个全新、最新的产品。

比尔的评论对世俗市场与宗教神话提出了反对观点, (见Belk, Wallendorf, and

Sherry 1989年9月出版)。扎克的观点是讨厌以个人力量赚钱的乔治·卢卡斯神话般的故事。这2段信息都表明,尽管品牌被认为是商业创造,它也依然对于消费者生活有重要意义，它被热情地描绘成一个对生活甚至宗教的有力隐喻。这些评论认为不单商业与宗教是文化对立的,同时他们在品牌融合上,比如《星球大战》也是有可观的文化力量的(参见Kozinets 2001, pp. 76-78)。支持这些发现有更广泛的营销关联,帕法罗扎发现美国西部的畜牧者之间有类似“商业”和“文化”这样的紧张关系,他判断出，美国西部是一个“生产深厚文化意义”的安全地点。比尔和扎克观点表达在品牌对品牌的不同反应方面的严重的紧张事态。他们响应在《星球大战》暗地里关于信仰和商业,虔诚和亵渎,超自然力量和金钱的品牌悖论。

讨论

品牌价值管理的内涵

从1957年的Alderson到1997年的Zaltman，营销学者们已经意识到了品牌融于自然的重要性,但兴许不是因为品牌动机研究的全盛时期(例如,Dichter 1960年)被作为品牌思想上广泛兴起的兴趣。最简单的如果为这个兴趣夸大了理由将导致一些构思产品叫做“仅仅客户经历过的工艺品” （Prahalad and Ramaswamy 2000,

p. 83）的争论。从Levy，Hirschman，Holbrook通过当前潮流实证主义研究的先驱工作(e.g.. Brown 1995; Fournier 1998; Fournier and Mick 1999; Holt 2002;

Kozinets 2001; Penaloza 2000; Sherry 1998; Thompson 1997),把品牌作为象征物的倾向已导致管理价值必须位于营销策划之下的结局。这些市场营销者是典型的价值经理者，他们塑造消费者的经历靠含糊的直觉。品牌价值管理涉及的消费者创造性活动,或者消费者可能被公正地认为是品牌本质的共同创造者,同样可能的,即使不能彻底欣赏。

自相矛盾地,我们有限公司简称的最终元素，可能最重要的是,为品牌悖论所带来的文化复杂性是对激活每一个其他规模所必要的。品牌既是活着,也不是活的,一件事物和一个个性,主体和客体:这是品牌意义自相矛盾的核心。这个故事既是真实

的也是虚幻的,由广告撰稿人设计聪明的说服力和用户事实组成。这是品牌故事的核心难题和顾客与营销者之间的协同依赖性。理想化的社区既是一个真正的社区,又是一个虚拟的社区,道德和不道德，被商业创造和反抗的升起所束缚着,依赖与独立，愤怒的激进份子和贪婪的消费者的聚会。作为一个复古品牌,在过去和现在之间的紧张关系,甚至在我们两个例子,未来——也能赋予品牌意义生机。复古产品在品牌管理的中心中似乎是专门定做于核心的自相矛盾的事物。复古结斩新，独创性 (以其它意味更高的功能,种类,造型,和额外价格)和老合惟一性，旧，熟悉，认同，依赖，忠诚的好处。这些本质的悖论加强产品的生命力基础，创造性的生活促使复古品牌特殊的和姓浮现。

结论

根据喜剧演员乔治·卡林(1998, p.110)、当代消费文化被以前的狂热所困扰,对于复兴，重制，再运行，再创造无节制的溺爱。固然,一观当今的营销景观显示,复古商品和服务始终在我们身边。长期被遗忘的品牌,如Airstream (拖挂式房车),布尔克里姆(香脂),查理(古龙香水)都已经机灵的复苏，成功的重新上市。曾经今消失的贸易人材，诸如惠普尔，莫里斯的猫,喜剧演员彻基塔，都重新浮现市场的货架上。过去的广告正在不断重播(例如,阿华田, Alka-Seltzer);老旧口号正在复苏(例如,“很高兴最后一滴”、“妈妈,你看,没有蛀牙”);长时间定型的产品在他们原有的基础上被重新包装以引人注目 (例如,Necco煎饼,阳光少女葡萄干)。

我们考察了复古品牌的崛起力图发展容易易控制的原则,对销售原则和实践。我们回顾了有关心旧的文献,用一个适当的怀旧研究方法,实证了两块个复古品牌,大众新甲克虫和星战前传I: 魅影危机。我们发现复古品牌的意义在四个固有的关键特性：童话般,脱离世俗的,气氛,与潮流矛盾。这些特点表明,复苏的品牌意义的社会和文化力量比之前概念化的建议更为复杂。品牌意味多余相对固定的关联点和属性特征安排。复杂性、多相性,活力,矛盾组成为了完整的消费者-品牌关系。品牌不仅认知了价值的关联，他们也有力地扩展了由故事组成的社会、世界。他们是有经验的社会主体，适当的在社会改变的同时改变。所以，尽管品牌价值可能归咎于市场营销者传递给消费者的意愿，消费者也反过来发现和激活了他们各自的品牌价值从而沟通回到市场消费者和相关品牌团体。这倒不是说品牌管理

对消费者调停品牌价值是不可能的事，但是它是比以前更为复杂的，相互建立的而不是强加的管理规定。

我们分析了品牌故事和他们的管理意义逐渐的被补充接受,消费者认为对品牌将再也不感到安心。他们必须刺激消费者冒险(Kapferer 2001年)。福尼尔和米克

(1999)表明消费者科技产品满意应当建立在惊喜，意想不到，一项挑战的基础上。为了创造这样的挑战,品牌管理者必须冒险和斗胆尝试以前不愿做的事。耐克对全球劳动标准的倡导是对抵制其品牌的有力回答。这是一个这种倾向的完美例子。品牌价值,并且，必须被作为社会品牌管理,就像品牌是一起合作的社会组织创造的(Kozinets 1999, 2001, 2002b; McAlexander, Schouten, and Koening

2002; Muniz and O'Guinn 2001)。这些社会组织存在于当地和技术上的调停区域。他们是矛盾、有活力、有文化竞争力的地区。在努力建立品牌阶段,销售人员必须做有关团体的聚会并在他们中演讲，同时也要单对消费者做演说。承担这些新策略的影响将会是一个进一步了解品牌和他们文化价值的激活。

出处：Stepheii Brown, Robert V. Kozinets, & John F. Sherry Jr. Teaching Old

Brands New Tricks:Retro Branding and the Revival of Brand Meaning[J] Journal of

Marketing 2003 - JSTOR